Beczala's "Black List"

Today, on a venerable online opera forum, a member linked this interview (in German) wherein the well-known Polish tenor Piotr Beczala declared his refusal in advance to be part of any opera production by certain Regietheater Regies (which, for obvious professional reasons, he declined to name) with a reputation for staging Eurotrash (i.e., Konzept) Regietheater productions of the established operatic repertoire — his "Black List", as he called it.

This brave declaration was hailed roundly by an overwhelmingly large percentage of the responding membership of the forum but was just as roundly pooh-poohed by the usual suspects, one of whom is a member of the certified classical music "smart set", a set identified in this recent S&F entry. Wrote this usual suspect:

But Leontyne Price says never sing on principal, only on interest. So difficult to keep up with all these pearls of wisdom from great thinkers whose qualification to theorize on the nature of art consists mostly of the ability to make a pretty noise in the throat.

To which we responded:

You mean as opposed to all those pearls of wisdom from great thinkers whose qualification to theorize on the nature of art consists mostly of their desperate, urgent need to justify and make acceptable their parasitic hijacking of the original works of others, or the theorizing of those great thinkers whose qualification to theorize on the nature of an artform consists of a view of that artform that's long been jaded by their having been obsessive-compulsively addicted to that artform for reasons other than art? I of course dismiss the theorizing of academic types as their theorizing on an artform is provoked and corrupted by things external to art and is therefore ipso facto worthless.

Usual Suspect's immediately following sally attempted the less snarky, more sober approach, managing only to dig himself into an even deeper hole:

I see nothing particularly brave in what Beczala said. Essentially he states he will refuse to work with "crazy" directors who try to "reinvent" the opera without bothering to define what constitutes either craziness or reinvention.... I would call it brave, for example, if Beczala had named names, said, "I worked with Fritz Krank in Graz on a terrible 'Traviata' in which I had to sing my cabaletta nude in a children's swimming pool filled with Jello." But he offers neither names nor concrete examples of what he considers "crazy." (What he says about a crocodile in "Lohengrin" is hypothetical and therefore pointless....)

To which we responded:

Since when does being hypothetical equate with being pointless? And in the case of Lohengrin, Beczala's hypothetical crocodile is perfectly on point given the recent infamous Bayreuth Eurotrash Lohengrin — the so-called "Rat" Lohengrin — with its army of rat-costumed Brabantians complete with tails.

In any case, the man is setting forth a principle and his stated rejection of any staging of Lohengrin — actual or hypothetical — in which a crocodile takes the place of the swan illustrates that principle in a way perfectly comprehensible to all — to all, that is, other than cheerleaders for and staunch fans and defenders of that malignancy known as Eurotrash (i.e., Konzept) Regietheater.